Fred Onovwerosuoke (b. 1960)
fredomusic.com
fredomusic.com
Twenty-Four Studies in African Rhythms, Volumes I & II
African Music Publishers 2011
PETER HENDERSON: Twenty-Four Studies in African Rhythms,
works for piano by Fred Onovwerosuoke
AMP Records AGCD 2504 (2015)
works for piano by Fred Onovwerosuoke
AMP Records AGCD 2504 (2015)
Dominique-René de Lerma:
THE PIANO'S NEW VISTA
African pianism is the concept of employing African rhythm and scales
in piano composition. The idea seems to have been introduced by Akin
Euba (1935-) in "Traditional elements as the basis of new African art
music," issued in 1970 in African urban notes, v5n4 and has since
been adopted by most contemporary African composers and been of
influence in the creations of others. A valuable discussion, with an
intensive analysis of Dr. Euba's 1970 Scenes from traditional life
(printed in 1975 by the University of Ife Press, an LP recording by
pianist Peter Schmallfuss is the only identified recording[!]) appears
at http://books.openedition.org/ifra/611?lang=en, originally issued by
the Institute Français de Recherche en Afrique. A two-volume
consideration, Toward an African pianism, edited by Euba and
Cynthia Tse Kimberlin, contains relevant articles by Kofi Agawu, Paul
Konye, Halim El-Dabh, Ed Bland, Mike Wright, Justinian Tamusuza, Joshua
Uzoigwe, and Bode Omojola and others. The second volume of this set
offers music by El-Dabh, Tamusuza, Eric Moe, Konye, as well as two CDs
of works by Euba, J. H. Kwabena Nketia, Uzoige, Andres Wheatley, Mark
Boozer, Nkeiru Okoye, Amy Rubin, Wallace Cheatham, Gary Nash, and Robert
Kwami in performances by Darryl Hollister (but for shipping, this is
available for $85 from MRI Press, P. O. Box 70362, Point Richmond CA
94807-0362).
Now we have a new item, both in print and on CD. The work of Fred
Onovwerosuoke, conductor, administrator, and composer has become quite
well known and warmly respected in recent decades. While working his
way through college, among his piano students were those who wanted
less worn-our repertoire. This was the stimulus for the little gems,
written between 1988 and 2009. These were gathered together as Twenty-four studies in African rhythms
and published in two handsome volumes in 2011 by African Music
Publishers (3547 Olive Street, Suite 110, St. Louis MO 63103), enhanced
by the composer's informative preface (in either volume, he explains the
generating idea for each work) with introductory notes by Mark Boozer,
Darryl Hollister, William C. Nyaho, Grace Christus, and Wendy Hymes --
all very recognized performers.
One might begin with "Edo," the second etude in the first volume. The
challenge here is to create three levels, almost like different
instruments: the bass as ostinato, the upper voice a variant ostinato,
with the legato melody in the middle voice. Or "Tunis," (I/IV) with the
bass ostinato (3+3+2) and a rhythmically uncomplicated upper voice.
Theorists will enjoy identifying the various scales/modes and
speculating on the blues-flavored "Iroro" (I/6). Virtuosic articulation
is required (and provided!) in II/13 ("Exhortation").
The publication is dedicated to Peter Henderson (Maryville University), the masterful musician who has recorded the
entire set June 20-21, 2011 (AMP Records, AGCD 2504, already announced last month to
Africlassical fans). He is a remarkable artist, not only managing the
intricate polyrhythms, but giving musical life to every nuance and
dynamic. Even without considering the impetus for these two dozen
miniatures, this recording should be high on the acquisition agenda of
all music libraries, pianists, and record collectors. He offer proof
than this music can be performed by one who is neither Ghanian nor
Nigerian.
But the astonishment cannot be fully realized without reference to the
printed music, and both should be acquired. If Dr. Onovwerusuoke wrote
these for his pupils, they must have been exceptionally advanced. If
that were not the case, their efforts to become comfortable with the
technical and rhythmic challenges must have been the source of great
pride -- the works are all reasonably brief and each gives focus to
specific factors, so the time invested pays off once the pianist's hands
fingers have been acculturated.
All
of the pieces have been printed in traditional notation, wonderfully
disguising the complexities. One, which could have been set in 14/16
meter is offered in 2/4; the pianist is only obligated to be at ease
with the septuplets ("Raging river," II/24). A 9/8 meter hides the
additive rhythm-meter of 3+6 ("Mother Earth," II/15). There remains the
simultaneous juxtaposition of dissimilar beat divisions, but this has
already been encountered in the hemiolas of Brahms, but never as in the
"Herero wedding dance" (I/7).
And Henderson's cadences are musicianly marvels! We must have more from him!
In the end, a pianist would be liberated from Western traditions, and
the audience would become alert to new visions of musical creativity. Zukunftsmusik? Might well be.
------------------------------------
Dominique-René de Lerma
1) Maestro Dominique! I'm without words in gratitude for your in depth review of Peter's cd. I'll forward it to him and may repost the review in various sources including CD Baby. Much gratitude to Bill for his illustrious medium, AfriClassical Blog. Gentlemen, THANKS. Fredo. [Fred Onovwerosuoke]
2) All my honor! This music, so wonderfully played, could only have been written by one who knows the piano very well, but that's only part of the story -- an essential but only initial start. I'd be out of my mind to attempt any of these, even my favorite, Manding meditation (II/XXI), which continues to haunt me! And true, we can all be so thankful that Bill has this door for more information than any book provides. Dominique-René de Lerma
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